Equestrian vibes were unmistakeable on the runway for autumn/winter 2012, with everywhere from Jonathan Saunders in London to the Paris shows of Givenchy and John Galliano riding high on its influence. A menagerie of textures saw tweeds, wools and jacquards adorn tailored skirts and structured trousers to create a strict and lean silhouette. Men wore double breasted jackets over neatly buttoned up shirts in an equestrian-esque spectrum of muted browns and greens. We spotted Will, a fashion and journalism student, expertly instigating his own take on the trend, months before even the hippest fashion crowds catch on.

Will's look is all about luxuriously structured tailoring, keeping shapes sleek and adding interest through texture and layering. We love his bright shirt and royal blue tie, adding a fun pop of colour to his sophisticated palette of browns. The centrepiece of Will's outfit is unmistakeably his grandmother's fabulous tweed hacking jacket. Adding the only pattern to his ensemble, he draws further attention to its refined structure by artfully belting the waist. It's the little details that really bring this outfit together, with pearly buttons perched delicately on a mustard yellow waistcoat and blue cuffs poking neatly out of tweed sleeves. Will keeps his accessories simple yet statement with coiffed hair, a Mulberry bag bringing an air of lavish grandeur and tan leather shoes to effortlessly match his belt and bring the whole look together.

Because: What show are you most looking forward to?

Will: If I could get to see Vivienne Westwood that would be fantastic.

Favourite show so far?

Bernard Chandran at Vauxhall Fashion Scout.

Why did you like it?

It was just fantastic. It was the Matrix meets Elvis.

Will is wearing:

Grandmother's hacking jacket, waistcoat and belt
Vintage trousers
Mulberry bag

This fine street-smart man has one impressive hair-cut. It immediately reminds us of 80's sitcoms and Will Smith's heyday (when everyone knew the Fresh Prince of Bel-Air theme tune by heart).

Citing LA rapper Taz Arnold as his style icon, Purdy has taken '80s street style and transformed it into 21st century cool. His tracksuit bottoms, turtleneck and hairdo are smoothly updated by the blue laptop case and neon green shoelaces, in a way that is only fitting for a young menswear stylist.

Still, a boombox would definitely complete the picture.

Because: Do you have a style icon?

Purdy: Taz Arnold.

What do you like to do in your spare time?

Party.

What kind of music are you into?

Doves and MIA.

Purdy is wearing:
Vintage Moschino jacket
Uniqlo turtleneck
American Apparel tracksuit bottoms
Kickers shoes

If you've had a fancy lunch at a hip restaurant in a leading international style capital at any point in the past few years, it's high time you met Martin Brudnizki - because he probably designed it. In his London studios, which are fittingly situated just moments from Knightsbridge's swankiest stores, the Stockholm-raised designer has spent the past few years quietly and unfussily becoming the go-to guy for top-end bar and restaurant design the world over. That's not regulation style-mag hyperbole; it's the reality. In his adopted city, the Brudnizki-redesigned rib room opened in October, followed by another primo meaterie, grand new steakhouse 34 (which the Observer's Jay Rayner called "the most self-assured, delicious London restaurant launch in years"), a few weeks later. Before those two were Corrigan's, the St Pancras Grand, Scott's, J Sheekey, The Club at The Ivy, the Dean Street Townhouse. Beyond the capital and the UK, Brudzniki has a long-standing role in the global expansion of the Soho House empire (as well as redoing owner Nick Jones' country pad) and has been commissioned by Rocco Forte to build a hotel in Jeddah. A Brudnizki-designed Dubai Ivy and an Abu Dhabi Italian, Oro, both opened last year too (you can see all these, and the rest, at his revamped website: mbds.net). In short, then, if they will come, Martin Brudnizki probably built it. Impressive enough given that he left Stockholm to study interior design in London just two decades ago (with "no clue," he says, laughing); all the more so given the high-stakes rivalries and egos of the restaurant world and its insistence on a distinct visual identity. Though there are recurring tendencies - a relaxed, lived-in kind of luxury, an engineer's sensitivity to space and size, a fondness for fixtures and fittings that evoke rustic Sweden, mid-century Manhattan and the grand old cafés of Europe - Brudnizki's secret is the absence of an unchanging "signature style". "You have to follow the brief," he says. "You have to understand the client, what they want. It's not about me. It's not my restaurant. They have a menu, they have a target market and all these things. Then I also have to look at the neighbourhood, the street, the city…" Once he's done all that, one renowned Brudnizki signature is the forensic accuracy with which he manages everything from the placement of bars to the height of surfaces and the best way to get an old-school tungsten filament afterglow from a dull modern light bulb. In a recession, he says, getting it right is not only about spending carefully, but also about looking that way. "Don't go over-glitzy with the massive chandeliers, over-the-top detailing and lots of luxe, over-expensive stuff going on. You create a room that's beautiful that looks like it's already been there for a while and isn't over-extravagant." Brudnizki's been in London for a while, long enough to remember the time before the great bar revolution of the mid-1990s, when nightlife was usually about either avant-garde nightclubs or tatty pubs. He believes the city's nightlife and its food culture has come on amazingly since that time. Many critics would say Brudnizki was central to that process; others would disagree, but still give credit where it's due. Judging by his review, A.A.Gill liked 34 restaurant a whole lot less than Jay Rayner, but he did concede that it was "beautifully lit."